In Defense of the Maligned- Part I, the Unearthed Arcana

This is Part I of a two-part series. Part II will cover the much-abused Oriental Adventures (which also rocks, by the way).

To start: about Unearthed Arcana (UA for short)… I’ve never understood the hate.

There, I said it. I’m an unabashed fan of Unearthed Arcana, but not in a weird way like the Bobs from Office Space.

The book is roundly reviled in some quarters, especially once you get into the OSR (“Old School Renaissance”) weeds. I get the impression some would prefer to pretend Gary Gygax’s name isn’t on the cover, or that these aren’t really his rules. But they are.

Some feel that UA led directly to the “terrible” 2nd Edition of Advanced Dungeons & Dragons, but to me that’s a stretch. If anything, it was showing its hand toward the direction Gary was heading with his version of 2nd Edition AD&D.

(There’s an excellent article that sums up the various clues Gygax left us about where he was going. I’m not going to rehash it all here, as it won’t lead to anything productive.)

UA opened up a new realm of possibilities. It also changed my perception of fighters. As presented in the 1st Edition Player’s Handbook, fighters are pretty milquetoast. UA gave them some real umph — especially when you consider how much magic-users outshine them at higher levels. That’s not to say it’s perfect (bow specialization is still the most egregious example). But overall, I’ve always liked fighters, and they might very well be my favorite class to play.

Taken as a whole, the book has some bad parts, some middling ones, and quite a few good ones. To me, the good parts more than balance out the bad — even the crap spells for clerics and druids, many of which I’ve never seen used in an actual game.

When taken in historical perspective, some people dislike Unearthed Arcana because of the politics of the time. The book was (likely) rushed out the door as TSR was experiencing a major cash crunch due to the mismanagement of the Blumes (allegedly). Others point to the really crappy binding of the original printing. I was lucky — my original copy was bound well (it’s since gone missing). Any copies I’ve bought off eBay since have been the later printings with the better bindings.

As far as the “rush it out the door to save the company” angle? Good, I don't mind. Because it helped lead to 2nd Edition, which I like.

Taken all in all, UA dovetails nicely with what I consider core AD&D.

I use the 2nd Edition rules, but having come into the game during the later stages of 1st Edition’s run (as I outlined here), I pull from a variety of sources from the 1984–1989 time frame — particularly Dragon magazine.

Myself and others who play like this are what I call “Hybrid Players.” As I’ve gotten older, I’ve largely rejected kits and a lot of the additional books. Some, like Ships and the Sea or Arms and Equipment, are handy. The various Complete guides less so — but not always for the reasons most gamers dislike them.

To me, kits speak to larger market forces. At the time, 1st Edition Warhammer Fantasy Roleplay was gaining steam in the US and it had a boatload of classes. I think the kits were TSR’s response to WFRP. I have no hard data to back this up, but it makes logical sense. I’ve used them in play before and at the time they were fun — no regrets. But as time has gone by, I’ve pared player choices back to the 2nd Edition Player’s Handbook and use NPC classes for various supporting characters.

For me, in closing: Unearthed Arcana holds a special place because it was the first Advanced Dungeons & Dragons hardcover I ever bought for myself (sent away for it via mail order!). Prior to that, all I had were the Basic and Expert sets plus hand-me-downs from my older brothers. It probably explains why, early on, I played an inordinate amount of cavaliers.

But hey — cavaliers aren’t so bad. They nerf illusionists in 1st Edition splendidly. And any time an illusionists is nerfed its good. Well, if they could squeeze in a special ability to slay gnomes too, I’d be completely okay with it.

As an aside, I’ve pretty much solidified on 2nd Edition AD&D when I DM (sorry, Randolph), but I do include options for my current campaign world. Instead of the UA cavalier, I use the “Corrected Cavalier” as well as the article “Tracking Down the Barbarians” from Dragon #148. Both work better than the UA versions. In fact, it’s a great example of how things can be lifted straight from 1st Edition and dropped into your 2nd Edition games. Oh yeah, almost forgot — I also allow the 1st Edition assassin pretty much as written. It works, and I’ve had little to no problems with the class aside from the occasional “High Gygaxian prose.”

Now about all those pole-arm illustrations in the back of the Unearthed Arcana... 

Boot Hill BH4 Burned Brush Wells – Classic TSR Old West Module

Cover art for BH4- Burned Brush Wells

BH4- Burned Bush Wells
The 4th module of the Boot Hill series certainly has a weird name, at least to me that is. It really, really does not roll of the tongue either.

Much like the other Boot Hill modules I did not play Boot Hill back in the day as we were not into Westerns at that time (a shame) and most of our time was spent playing Warhammer Fantasy Role-play and AD&D. For my own part I used to watch a lot of westerns with my father, but drifted away at the time. A few years back I started watching them again and got hooked on Boot Hill. In any event BH4 - Burned Bush Wells is a module produced by Jeff Grubb with some input from Allen Hammock and Brian Blume.  

BH4- Burned Bush Wells is one of the later Boot Hill modules. I say "later" because the graphic design had changed noticeably from the earlier releases, reflecting TSR's increasing focus on Dungeons & Dragons and Advanced Dungeons & Dragons as the company's primary breadwinners.

The power struggles within TSR during the mid-1980s may also have played a role. It's possible there simply were not enough people interested in developing the Boot Hill line. Donald Kaye's untimely death certainly could not have helped the game's long-term prospects, though that is only speculation on my part.

In any event, Burned Bush Wells would become the second-to-last Boot Hill module, following the same general format as its predecessors. It is strange to think that it was released in 1983, with only Range War following in 1984. From BH1- Mad Mesa in 1981 to Range War in 1984, the entire line of Boot Hill modules spanned just four years.

Art by Larry Elmore for Burned Brush Wells

The cover and interior art
Elmore seems to be a polarizing figure for some in terms of TSR era art. In the realm of Boot Hill (and others) I think his stuff is very good and it certain captures the feel well, certainly for a western RPG. Another thing to ponder the American West isn't usually depicted in the winter, whether its a movie or art; usually its baking, scorching hot deserts and cactus. I also like to point out the crop with the snow on the bottom right corner outside the frame. In short, I like it. One thing that detracts is some of his art in the interior. Not that its not done well, but a lot of his characters tend to look alike, a certain feel to them if you will. Perhaps this is where people object?

Content

Like BH2, the Game Master is presented with an outline of events rather than a rigid sequence of encounters. Much like a movie, certain scenes occur at the appropriate place and time. As I've discussed with like-minded folks over at the OD&D Pro Boards, it is not so much a "sandbox" as a "jungle gym." The module provides a framework for the players without becoming overly railroaded.

This is an area where all of the Boot Hill modules struggle to some degree. A Western is built around a series of largely self-contained scenes that collectively tell the story and inevitably lead to the final showdown. That structure works well when the adventure is treated more like the script of a Western film than a fantasy sword and sorcery adventure with six-guns and Winchesters.

One thing that stands out in this, and every other Boot Hill module, is the sheer number of NPCs. In most cases, I cannot see this level of detail ever becoming terribly important. The local saloon keeper? Yes, we need to know his name. The names of all of his children? Probably not.

The main action takes place in the eponymous town of Burned Bush Wells during the dead of winter. As the module explains, winter is a lean season in the West, and the wolves are hungry. Since Burned Bush Wells is surrounded by cattle ranches, predators are naturally a problem that must be dealt with. Rules are provided for hunting and trapping wolves, along with the animal rules that seem to make an appearance in nearly every Boot Hill module.

The principal mover and shaker is Lyle Underhay, the wealthiest man in town and the businessman with the widest range of interests. He fills the role of the thoroughly unlikable, power-hungry entrepreneur. Underhay is squeezing smaller businesses and ranchers in an effort to force them out. In response, they unite to form the BBBC, the Burned Bush Business Council, and fight back over the ownership of the Waterhouse deed, specifically the deed to the Old Stage building.

Underhay wants the deed, the player characters will most likely end up with it, and from there the central conflict unfolds. It is a classic Western premise that translates well into an RPG. The challenge lies in locating the former owner of the Waterhouse deed so the transfer can be made legally, thereby foiling Underhay's plans. Naturally, a man as powerful as Underhay is not willing to let matters end there, especially since he effectively has the town's lawmen in his pocket.

The BBBC is a particularly well-conceived idea that echoes real historical events such as theJohnson County War in Wyoming, which eventually drew in the U.S. Cavalry. There, the powerful Wyoming Stock Growers Association found itself opposed by the smaller Northern Wyoming Farmers and Stock Growers' Association. Another obvious parallel is the Lincoln County War, the conflict that famously involved Billy the Kid.

The adventure's most likely course sends the player characters toward Gordon, where the next phase of the story unfolds. The overland journey feels authentic, thanks in part to the random encounter table. Having recently watched Will Penny, I especially appreciated the inclusion of a line rider as a possible encounter. It is a minor detail, but it demonstrates that the author had a solid grasp of the setting.

Another aspect I enjoyed is the inclusion of a ghost town. Gordon, an abandoned mining town, provides an atmospheric backdrop for several of the adventure's key scenes. Ghost towns are common throughout the American West, but we tend to view them through the lens of nearly 150 years of history. In the context of the game, a town that has only recently been abandoned makes the campaign world feel lived in and believable. By comparison, many Western RPGs published over the past two decades have leaned heavily into supernatural horror, largely following the influence of Deadlands.

Finally, a brief word about the maps. They are consistently clear, easy to read, and well executed. Their style matches the cartography found in many TSR products of the era and would have looked perfectly at home alongside the maps that later appeared in Dragon magazine.

Conclusion

Much like the modules that came before it, BH4 plays out more like a script than a traditional adventure. It presents a series of events rather than the dungeon crawls most gamers were accustomed to. I know I sound like a broken record in these Boot Hill reviews, but it is an issue the line never fully solved.

By this point in TSR's history, the company's focus was clearly on Dungeons & Dragons. Add in the growing power struggle between the Blume brothers and Gary Gygax, and it is no surprise that TSR's secondary games, such as Gamma World, Top Secret, Gangbusters, and Boot Hill, gradually took a back seat. Boot Hill was a solid game, and its roots as a miniatures-based skirmish game are evident throughout the rules. It was not until 3rd Edition that it fully embraced role-playing, but by then the ship had largely sailed.

The "cut scenes," labeled I through IX, are well executed and help establish the town and its inhabitants. My favorite section, however, is Waterhouse's Deed. The scene where the player characters are summoned upstairs to meet Underhay, under the guise of legal business, sets the entire conflict in motion. I can easily picture this sequence playing out in countless Westerns. The corrupt land baron confronts the heroes, demands they either leave town or surrender what he wants, they refuse, and from that moment on everyone knows the final confrontation is only a matter of time.

As an aside, by the time 3rd Edition Boot Hill arrived in 1990, my high school gaming group was barely playing AD&D anymore, let alone TSR's other games. We still occasionally broke out Marvel Super Heroes of Twilight 2000, but that was about it.

In a sense, Boot Hill never really entered my gaming orbit. I cannot remember anyone in my high school group owning it, much less suggesting that we actually play it.

Next up
In my queue to review in the not too distant future is review of the elusive BH5- Range War!

I say elusive as it has been eluding me on eBay (its not worth $75 dollars folks) I should take comfort some wags on Amazon think people are going to pay $400 for it...

Lastly, in order, to date here are my reviews of Boot Hill materials
Boot Hill itself
BH1- Mad Mesa
BH2- The Lost Conquistador Mine
BH3- Bullets and Balllots

On a completely personal note I bid a fond farewell to Eli Wallach who starred in incredible westerns like "The Good, The Bad, the Ugly" and "The Magnificent Seven" to name but a few.

Jedi Duels: Ranking the Lightsaber Fights Across the Star Wars Episodes I through VI

 

In light of the theme of my blog I figured it was time to speak to Star Wars.

With J.J. Abrams taking the helm of Disney's new intellectual property toy, its time to consider the previous movies before we get to Episode VII next year. Rather than rehash which is the best movie or "why the prequels suck" (to some people) for the five billionth time on the web I'm going to focus on one of the things I (almost) always enjoy in the movies: the Jedi duels. By focusing on this one aspect the order of best to worst movie shifts quite a bit in my opinion. You may disagree but hey, it's my blog and part of the fun.

If you disagree give good reasons as to why as this discussion can get heated across the net, has been that way for years.

If one were to consider Best to Worst in terms of the movies Jedi fight scenes my list would look like: 

Phantom Menace (1999) - The fight between Obi Wan and Qui Gon vs. Darth Maul is the best of the series. The fact that martial artist Ray Park plays Darth Maul and choreographed the fight is the primary reason why it's good. The music, Duel of Fates is epic as well.

Revenge of the Sith (2005) - The finale as it were, Obi Wan vs Darth Vader. The best part to me is the titanic wielding of the force where each tries to force push the other and are evenly matched and they hurl away from each other. Battle of the Heroes for the musical backdrop is powerful and a great piece of music.

Empire Strikes Back (1980) - Luke is still not quite ready and in context is certainly better than the worst (see below). The great thing about this battle is the movement and that it rages all over Cloud City it seems. Obviously the "big reveal" is what makes it memorable.

Return of the Jedi (1983) - Moody, dark and light contrast and this time around Luke stronger than Vader. In a way he is toying with him trying to tempt him back to the Light side of the Force. His rage at the end and his realization that path he is heading down is what makes it great.

Attack of the Clones (2002) - Ugh Yoda and the CGI animators! I've said it before I'll say it again. Had they made Yoda move and fight similar to Shifu in Kung Fu Panda they would be onto something. Shifu is much smaller than his opponents but moves in a believable manner and is under control. That's not what we get in Attack of the Clones. The CGI animators wanted to show us what they could do with their toys and that's what we got. A shuffling, cane walking Yoda flips and shouts all over the place?

Star Wars (1977) - There really isn't too much to say with a geriatric Obi Wan facing off against Darth Vader. I've heard some say because its based on Kendo's formal poses that's why it seems so slow. Slow is an understatement, it's a snoozefest. Fortunately it's over quickly. 

When looked at through this narrow prism as a said the order shifts quite a bit. Revenge of the Sith is a curious case in all of them, to me its such an uneven movie. We know whats coming long before the Emperor unleashes

As far as Episode VII? I'm cautiously optimistic that it will be good, it certainly an be worst then the craptastic parts of Return of the Jedi. I'm hopping for less kid driven crap like Ewoks or Jar Jar Binks. As we all know when Lucas' input is limited we get better movies (usually). In terms of the Jedi fights lets hope it's more like Phantom Menace rather then Star Wars which is a weird thing to say at face value.

What are your rankings of the Jedi duels in the prequels and OT? 

Guns of the Magnificent Seven (1969) – The Best Sequel in the Series

"A coward dies many times, the brave only once."

To what do I refer? I am talking about the excellent movie Guns of the Magnificent Seven. Now, obviously the original is the best of the four movies, but after being let down by the sequel Return of the Seven, Guns more than makes up for it in my opinion. Return is basically the first movie with different actors, done badly. Guns tells a slightly different story and is much better for it.

Before I go too far here is the order of the movies from best to worst:

1. The Magnificent Seven
2. Guns of the Magnificent Seven
3. The Magnificent Seven Ride
4. Return of the Seven

Now of course people will say Seven Samurai is the best. Well of course it is, it is the source material, but that is not what the topic of this post is about. So with that side track out of the way...

I am going to assume if you are reading this you have seen the original Magnificent Seven... and if you have not, go watch it, come back here and then read the rest of this post! Better yet watch Guns of the Magnificent Seven too then come back.

Ok, you are back?

One downside that starts us off, Yul Brynner is not playing Chris Adams. This time around George Kennedy takes the helm as Chris Adams. While not as slick as Yul Brynner he did make for a great leader of the Seven. At first I thought I would not like his portrayal, but I was pleasantly surprised. While watching it I did not see him as Chris Adams so much as George playing another guy named Chris Adams... If that makes sense. In other words it is a good western and a good actor that stands on their own merits. If it had not been part of the Magnificent Seven series it would stand on its own merits as a fine movie.

One area I think that helped drive the story is that in this version the viewer actually cares about the assembled Seven, unlike Return where the viewer is left scratching their heads. I especially like Joe Don Baker's character Slater as an ex-Confederate soldier trying to make a living in the west while maimed from his wartime service which has caused his life to spiral downwards. He does not have too many scenes in the movie, but I found myself wanting more of him on screen.

Monte Markham stars as Vin Tanner, err make that Keno, Chris' right-hand-man in this version of the series. I found myself liking him in this role and I think he did well rather than the ill fit of Robert Fuller as Vin in Return. Much like the casting of Kennedy it works.

Another point on actors is James Whitmore as Levi Morgan, an aging knife thrower/former outlaw who looked old even back in 1969. Most younger people will know him from his role as Brooks in The Shawshank Redemption.

Rounding out the thoughts on the cast. In a 2 hour-ish movie it is difficult to get to the other characters but they somehow manage to do it with Cassie a black laborer-physical dynamo, Max the young Mexican (taking over the role/spot of Chico) and PJ the enigmatic clad in black gunfighter who has the least amount of screen time of all of them.

 

Without spoiling it too much let's say the story is a departure from the normal fare in regards to the theme of the Magnificent Seven of helping innocent villagers. The assembly of the seven goes quickly as we hop from member to member without any lag in the story. The use of the Mexican federal military rather than raiding outlaws is a welcome change. It is also cool anytime a western has a Gatling gun which the bad guys do.

In closing, as the title of the post suggests, the best line is delivered at the very end by George Kennedy in Spanish to a very young Reni Santoni. What makes this great is that his character Max repeats it back in English (which is a twist on the way his character communicates through the movie; struggling to find the right words in English and reverting to Spanish):

"A coward dies many times, the brave only once."

I give Guns 4 out of 5 stars and if I could, I would give Return of the Seven zero...

Lastly, on a side note it looks like Denzel Washington is talking about joining a remake of The Magnificent Seven. Woot!

 

The Visionaries: Knights of the Magical Light – A Forgotten 80s Cartoon

 

Visionaries: Knights of the Magical Light was a cartoon show that ran in the Fall of 1987. It occupies an odd time in my childhood, that is to say not at all. I was 14 almost 15 when it came out. I remember watching it because it was somewhat D&D related/inspired, but at the same time it felt awkward watching it. Hey, who wasn't awkward at that age? Despite that I will freely admit I saw almost all the episodes.

Visionaries were somewhat Thundarr-like in that the world where it takes place was a world where technology had fallen/failed. While not as over the top as Thundarr it was post-technological. It was also a mash up of Camelot and the Knights of the Round Table with the main mover and shaker a wizard named Merklynn who was nominally neutral in the dealings between the two factions: the Darkling Lords (obviously evil) led by the knights Darkstorm and Leoric the leader of Spectral Knights (the good guys).

What I think saved me from feeling too weird was the tie into magic, particularly the magical words of power that were invoked via their magic staffs. In the first episode "The Age of Magic Begins" the

Cryotek using his staff

various knights climb to the top of Iron Mountain in a form of challenge. It is at the end of this episode that each knight gains a magical animal totem that mirrors themselves, Leoric a Lion, Feryl a wolf, Darkstorm a Mollusk, Reekon a lizard, etc. Those knights that do not possess staves gain the ability to power magical power vehicles, obviously a ploy to sell more toys? One upside is the cast of characters is pretty good and each bad guy has a good guy to mirror him/her. In some cases the knights knew each other prior to the age of magic.

To activate each staff the wielder had to recite a magical verse. Amongst my favorites were:

Cryotek's Staff of Strength - "Three suns aligned pour forth their light and fill the archer's bow with might!"

  Witterquick's Staff of Speed - "Sheathe these feet in the driving gale, Make swift these legs o'er land I sail!"

Darkstorm's Staff of Decay - "By what creeps, what crawls, by what does not; let all that grows recede and rot!" (Great for a staff of withering)

Lexor's Staff of Invulnerability - "The arrows turn, the swords rebel; let nothing pierce this mortal shell!

Come to think of it these would make great command words, phrases for more than just magical staffs, wands etc if one were so inclined. How about Lexor's for a potion of invulnerability?

Another use in a D&D campaign is the idea of the one shot nature of the staves; they required recharging at Iron Mountain. Now this could be a hindrance to a campaign as a whole as players might stay near the place of recharging rather than venture afar. However, if sufficiently powerful the players might husband their resources until the need is great, then head back (that's what I would do). Perhaps they are akin to powerful relics/artifacts in AD&D. Its not inconceivable to have say Lexor's staff of invulnerability keep everything out much like a cube of force, can only be used once until its recharged and usable by any class. Possession of such items might bring prestige in said campaign world if the items are well known or perhaps foes seeking to claim or steal it.

In terms of visual style the Visionaries had a very similar look to the other cartoons of the 80s, where the rise of manga was beginning in the USA. Interestingly the series was created by Flint Dille, who met none other than Gary Gygax when Gary was working on the D&D cartoon. This is fateful as Flint is none other than the brother of Lorraine Williams... Any TSR nerd from back in the day can tell you how much she is hated for ousting Gary from TSR. Flint would work for TSR for a time and the rest of his details can be found here. Anyways I digress.

In a way, Visionaries felt very much like the other cartoons of the 80s, MASK, G.I. Joe, He Man, Thundercats, Transformers etc, a bid to sell toys in the wake of the mega success of Star Wars. Looking back on it the series was an odd bird, it only lasted one season and felt even back then it was an attempt to cash in. It was also a short lived comic book series but I never saw one and was a fairly avid comic reader back then. Maybe that's me looking back on it through hindsight.

Not that I condone such things, but I'm sure there are places on the web to watch all of the episodes...

First Physical Printout of Hurled into Eternity Rules

EDIT: Since 2025 this has been superseded by the most current version of the rules.

This post explains why I have not updated the blog in a few weeks: the first true print out of the rules for Hurled into Eternity, at least in this format. Years ago (as in 15+) when the progenitor to these rules were in its d12 configuration and a traditional fantasy RPG called Quest, I printed sections of it, but never the entire rules themselves.

This is a prototype of the rules. I say prototype loosely here because I am not sure I am going to use this styling when it gets ready for a potential Kickstarter. None-the-less, I printed out two copies at the local Office Max as you can see in color for the covers and the interiors are double sided black and white. Total cost for printing out two copies was under $20 including the color covers.

It weighs in at 78 pages, double sided when printed with two more for the covers. All told the entire rule set in terms of page count is 154. Maybe these will be collectors items someday (hah!)

The main purpose of the print out is to help facilitate testing and get a physical copy to make it seem more real. After years of only looking at it in its electronic form it is good to finally see a physical manifestation of it. So far it has been very useful as I can reference as I work in the My Man Cave testing the rules. So far it has helped me tweak the rules for the Wild Card System, a bit for the better I hope.

Of course since printing stuff out I have noticed issues with it and changed the Wild Card System to flow better. I think I fixed the obvious problems regarding it. So far gun-fighting is looking very deadly with shotguns being perhaps too much. I would really like to hear about feedback on the combat sections with the revisions.

Death on the Reik: Review and Memories of One of the Best WFRP Modules

The long and winding River Reik has many places to adventure, but none so fearsome as Castle Wittgenstein. Just look at the Ian Miller cover — it is all kinds of awesome. Death on the Reik is a great module and I was fortunate enough to play it just as it was reaching America. We started playing the seminal, masterful series Enemy Within right after (or thereabouts) after THE CAMPAIGN. I do recall us playing a proto-Warhammer campaign where I was playing a bounty hunter with a Strength (S) score of 2! Not much came of that.

As I noted here my second character in Warhammer Fantasy Roleplay was a rat catcher who got killed by a bird-winged mutant. Alas poor Wilhelm! I can still remember his corpse being draped across some branches, ahhh good RPG times! Thinking back on it I'm pretty sure when we started the Enemy Within campaign, the ratcatcher was not my original character. I started with the elf from Shadows over Bogehaufen, the minstrel Malmir Giluviel. Whether he died or not I can't recall, but by the time we reached Bogenhaufen I was playing my rat catcher. He is the character I think of when I look back at this module, but he was one of many I played. Funny aside, when we reached the castle many of the original characters had perished, not just mine.

The PCs "ticket to ride."

Since we did participate in Shadows over Bogenhaufen and Dave's character was a Boatman we quickly saw the value of the boat early in the module. Aside from the fatality of my rat catcher we secured the boat and made our way. We didn't really need much prodding as we were quickly discovering that traveling by water was much safer than by road, recent fatalities notwithstanding. Since we were very, very poor we quickly grasped the principles of trading and did a bit to get us better weapons and armor. I think at this point I was playing (temporarily) Johann "Rowlocks" Dassbit a boatman from Shadows over Bogenhaufen (he may have been Pete's character who was showing up less and less) whom we had along as an NPC. Unlike the previous AD&D games my luck was none-too-good in WFRP. On the death of my rat catcher I played a bunch of the NPCs until I got assigned an outlaw (see below). Not sure why I wasn't allowed to roll a new character so I bounced from NPC to NPC.

We made it through all of the early encounters without too much trouble: the Cult of the Purple Hand (I don't recall who looked like Kastor Lieberung), Weissbruck, the signal tower, Kemperbad and the Barren Hills. The signal tower was great fun and it felt very spooky and old as we poked around it. The fight with the skeletons and the skaven in the Barren Hills went too well for us: it made us overconfident going into Castle Wittgenstein proper.

The GM did a great job utilizing the numerous NPCs in the series especially when character deaths happened which was often. As noted above my character was dead for several weeks of real time and I wanted a more combat oriented character. We were discovering that some character classes were better than others in WFRP. So the GM gave me Hild Eysenck, an Outlaw (renamed and gender flipped to male) version of Hilda Eysenck to run from the module. It was a smart move as we needed more warrior types. He was a bit of a wildcard, but helped us get through the brutal exploration of Castle Wittgenstein. Even the lower dungeons were a grind from my recollection and looking over the module. Again, we were not that high in terms of powered up characters and very few of us were actual warrior classes which are a must in WFRP.

The town of Wittgendorf was fun, well at least looking back on it. Fortunately I wasn't the one that looked at the foul spider baby to gain Insanity Points. I think we did start a fight at the Pale Lady encounter and slew some of the guards as Lady Margritte rode off. Additionally, we did find the warp blade in the ruined Temple of Sigmar. I don't recall who carried it, but it did help immensely in the fight(s) in the castle later on. We rummaged around the town only briefly after fighting the guards and did not encounter Jean Rouaeaux or his brew house and horror filled basement.

Playing the part of my new character I led the party to Sigrid the outlaw chief. In short order we agreed to explore the secret way in (Under the castle/ areas #1-11). We did assault the guards at area 8 and secure our boat again. Why we didn't pilot it out and leave I'll never know ;) as it were we took the stairs that ended up in the ruins of the Outer Bailey among the mutated beggars. Since we were fairly stealthy and had not fought any guards other than the ones by the river gate the alarm had not been raised. Carefully picking our way we made it all the way to inner areas where we encountered the chaos warrior Ulfhednar the Destroyer (Jeff also used the mini for his BBEG in THE CAMPAIGN) who put a hurting on us. (he was not in his guest room so we encountered him much closer to the entrance). My memory is hazy, but after fighting him we hightailed it back to the outlaw camp. Somehow we encouraged them enough to assault the castle with us heading back through the secret entrance and creating diversions.

I don't recall us adventuring much after this. I'm not entirely sure we made it to the end to confront Lady Margritte and her monster. Reading through the module many years later as a GM I felt let down by the Frankenstein rip-off of the ending. If I ran it again I'd change the ending to something less clichéd. As it was the only time I GMed it the party never got close to area 61-62.

We did not play much more of The Enemy Within proper as around this time we started to play more Warhammer Fantasy Battle as it took less time, plus we were all starting to drive and serious girlfriends beckoned. I don't recall us playing much of Power Behind the Throne. I know for a fact we did not play Something Rotten in Kislev or the lukewarm at best Empire in Flames (I have it but don't think I'd ever use it as is*). In the end it was fun and I have fond memories of Death on the Reik. Years later I ran my current gaming group through it and had fun but they were much, much more wary than my original group.

Some random thoughts:

• Much like Q1- Queen of the Demonweb Pits at the end of the GDQ series for AD&D, Teh Enemy Within feels stilted by the end, as in not part of the overall flow of the modules. Q1 needed a much better ending and in my opinion was done better and more in character here. So fans banded together and produced Empire at War (I've not read through the whole thing yet so I can't vouch for its quality). But by all accounts it s better ending to the campaign arc than Empire in Flames.
• Death on the Reik is regarded as one of the best RPG modules of any system and I'm not going to disagree. It was fantastic to adventure in and I loved every minute of it, PC death and all, well aside from the in my opinion tepid ending.
• Another thing that I always remember is the spooky weirdness of Castle Von Wittgenstein. The maps were uber-cool and the atmosphere dark and grim with mutants living in the courtyard! The graphic/design cartography was always top notch in WFRP products but Death on the Reik was perhaps at the pinnacle.
• When I've GMed Warhammer the players were curiously reluctant to explore more of the castle or were much more cautious...I wonder why that is????
• The River Life of the Empire section is fantastic. It really is full of very useful information for a campaign set in the Empire. Couple this with pages 4-38 of Shadows over Bogenhaufen and you have more than enough material for an Empire-based campaign.

In closing I give Death on the Reik a 9 out of 10, it's just that good. It's also certainly the best out of the Power Behind the Throne modules with the last two, Something Rotten in Kislev and the lukewarm Empire in Flames were mediocre at best... If you are lucky enough to play it you won't be disappointed.